Meet Seetha Satheesh K, first woman to perform the male-dominated dance form of Thirayattam

A 26-year-old female student is breaking both gender and caste barriers with every step to the beat of a chenda.

This is the story of Seetha Satheesh K and how she is burning the dance floor and stereotypes!

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It’s in the genes

Thirayattam dancer Seetha Satheesh. (Supplied)

Seetha was around five when she first witnessed a Thirayattam performance at her father’s ancestral home in Kozhikode.

“Thirayattam is usually performed in kaavukals (temple groves),” she tells South First.

“I think it was the uniqueness of the dancer’s attire and movements that attracted me to the dance form. But I have also been passionate about dance, in general, and was always interested in a plethora of art forms, both Western and classical.”

Seetha, a Kozhikode resident who currently lives in Thrissur’s Guruvayur town, comes from a family rooted in the arts. Her parents had enrolled her for Bharatanatyam, Mohiniyattam, and Kuchipudi when she was nine.

Her father, Satheesh K, is an illustrator and her twin sister is also an artist working in media.

“My father had been the recipient of the Sahitya Akademi Award for his work,” she shares. “Since I was young, my father has been a leading figure to inspire me in the fields of arts and culture.”

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Dance like a man

And so, when she expressed to her family her desire to learn the male-dominated Thirayattam dance form, Seetha was certain her father would support her decision.

“Last year, during my BEd course in college, we had a seminar/session on the dance form, led by Thirayattam performer Moorkkanad Peethambaran. I took this opportunity to request him to train me in the form.”

The award Seetha received early this year. (Supplied)

Seetha was adamant that she wanted to train under Peethambaran, who eventually obliged. “During the session itself, I asked him why women can’t perform Thirayattam. It had a great impact on him and he couldn’t refuse me.”

“My parents were progressive enough to allow me to pursue this. My father was my biggest support system,” smiles Seetha, a final year student of BEd in English.

Coming from a classical dancing background helped her learn this ritualistic dance form faster.

“I trained under Peethambaran for a few months and did my debut performance on 6 September, 2022, at Sarovaram Park in Kozhikode.” The event was part of the 80th anniversary celebration of the Malayalam newspaper Deshabhimani.

“Ever since, there has been no stopping; I have performed on different stages and was also given the privilege to be honoured by the Andhra Pradesh Governor. Early this year, I was conferred the Nissima Mahima Award as the ‘First Lady Thirayattam Artist’.”

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An ethnic dance form

In Thirayattam, artists deliver fast movements to a chenda (a percussion instrument), ilathalam (a metallic instrument), kombu (a wind instrument), thudi (a percussion instrument), and kuzhal (double-reed wind instrument).

Seetha performs on many stages now. (Supplied)

The dance is performed to please the gods. “There are different kolams (characters) played by the artists and which represent each deity,” Seetha informs.

“Thirayattam is performed in three stages of time, which corresponds to the three stages of the life of the deity. The one performed during the day is called Vellattu, which represents the teenage years of the deity. The one performed at night is Thirayattam, which represents the youth. Finally, Chanthattam is performed at dawn and represents old age,” she explains.

While performing Vellattu, an artist has to deliver mild movements and maintain a slow pace. Thirayattam, on the other hand, involves rigorous movements at a fast pace. For Chanthattam, the pace again becomes slow, she adds.

Each kolam has different costumes and make-up, according to tradition. “My favourite kolam to watch as an audience is Kuttichathan. This kolam is a humourous one and entertains people with its mischief and playfulness.”

But if she had to pick her favourite kolam to perform, Seetha would choose Nagakaali.

“I love performing Nagakaali the most because of its subtle facial expressions that represent a naga (a snake). Once I start performing Nagakaali, I reach a different realm of being the snake itself. There is a sudden upsurge of expressions of a snake without any conscious effort. And the response I get from the audience is most rewarding.”

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Transforming society

While it may sound like Seetha is living her dream of performing Thirayattam on stage now, her life choices come with several challenges.

“I have faced criticism and even threats from people for performing this artform.”

But her unwavering spirit keeps her going. “Where there is a revolution, there will be challenges,” she smiles. “And I am ready to fight them and move forward.”

Seetha received an award in the arts and culture category early this year. (Supplied)

“In the present era, many women are breaking stereotypes on different platforms. I too wanted to reform Thirayattam to another spectrum and encourage women’s participation. Every time I perform on the stage, I represent women in society. My aim is not to become an ultimate performer, but instead to be a cultural reformer who can break the gender stereotypes pertaining to art forms.”

Seetha wants society to perceive Thirayattam not just as a ritualistic dance form but also as an academic art form.

“Kathakali and Ottamthullal were once regarded as ritualistic performances, but later on, they evolved into stage performances as well. Thirayattam also needs this privilege. Thirayattam has been locked under the chains of superstition for a long time now. It is high time we break all these norms or else the art form will be extinct.”

Seetha says anybody who wishes to learn Thirayattam should be given the chance, regardless of their caste, religion, or gender.

“Someday, when I feel like I have attained the highest standards of this dance form, I would love to train other willing artists. I also have a dream to write a book on my journey into learning Thirayattam and how it changed my life.”

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